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Since his appearance in 2003 as the great new hope of the Argentine art circuit, Adrián Villar Rojas, from Rosario, has traced a spectacular career that had its peak in The Theater of Disappearance, the installation he held on the Metropolitan Museum of Art’s Roof Garden, in New York. A kind of extension of the installation from which it takes its name, the film is a trilogy of segments independent from each other that, through different narrative elements, trigger some stimuli that reflect on the destructive nature of humans and their relationship with the planet. Villar Rojas does not give easy clues, nor does he propose reassuring answers: the magnetism of his images, with their internal rhythm and surreal aura, interconnects removed places in a collage of alienated, hypnotic shapes of an almost post-apocalyptic distortion. It is in that strange search for beauty, of slow but well-aimed blows, that the power of film generates a demolishing effect.

Adrián Villar Rojas

Born in Rosario, Argentina in 1980, he studied fine arts in the Universidad Nacional de Rosario and film in the Escuela Provincial de Artes Visuales General Manuel Belgrano, Rosario. He directed the short film Lo que el fuego me trajo (2013).